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See here the birth of a radical art scene: laboratories of free artists, clubs, internet caf»s, and galleries emerging in Russia between prefab high-rises, slums, and the turreted fortresses of the nouveau riche. Unburdened by old ideologies and metaphysical obsessions, artists in the former Soviet culture houses have been working with new media, playing with performance art, developing new strategies, and forging new representations of the self.
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To accompany the exhibition in the Austrian Pavilion for the 55th Biennale di Venezia, a landmark publication titled "Austria and the Venice Biennale 1895-2013" will be launched in May 2013. This scholarly, 400-page publication will present, for the first time, a comprehensive overview of each individual exhibition, with the help of previously unpublished photographs, plans and correspondence drawn from public and private archives in several different countries. The list of artists presented by Austria at the Venice Biennale over the last 120 years includes most, if not all, of the leading figures of its cultural avantgarde: from Gustav Klimt, Egon Schiele and Oskar Kokoschka, Hermann Nitsch and Arnulf Rainer to VALIE EXPORT, Maria Lassnig and Franz West.
Clients of architects are featured in this volume, which sheds light on the tricky balance of power between the architect and the client. It focuses on three visionaries who commissioned buildings which became 20th-century architectural icons.
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Bruno Gironcoli (*1936 in Villach) occupies a unique position in the field of international contemporary sculpture. The Austrian artist has developed an unmistakable form of expression which he continues to cultivate, from his early ornate wire objects through to the enormous sculptures of the past two decades. Existential themes-such as the relationship between man and woman, sexuality, violence, and subjugation-are areas upon which he reflects in his machine-like sculptures. Along with these, Gironcoli has also created a broad spectrum of works on paper. Paying particular attention to his sculptural work, this focused monograph is the first to offer a comprehensive overview of his oeuvre. Alongside a complete catalogue of his sculptural works, this volume also presents Gironcoli's writings for the first time, as well as previously unpublished interviews from 1994 and 1995, in which he discusses his work in detail.
Referencing mythical, historical, literary and spiritual imagery, Horn invokes these bodily concerns with such objects as violins, ladders, pianos, feather fans, metronomes and drawing machines. She is best known for such works as "Pencil Mask" (1972), which looks like an instrument of torture, but which actually transforms the wearer's head into an instrument for drawing.
An investigation into the work of the celebrated Viennese Aktionist.
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